Roland Berger

King rises like a mystical appearance—tall, slender, almost arboreal, yet traversed by faces, eyes and lines that seem to flow out of the bronze. The vertical figure is both figure and abstraction—a raised body that at the same time begins to flow. The surface appears overgrown, scarred, recalling wood grain and bark. The impression is biomorphic—between trunk and body, organically grown. In this calm, the sculpture unfolds a static energy: it stands firm in space, and yet the form seems to follow gravity, as if a quiet, sustained flow were gently drawing the mass downward and setting the figure into a soft downward movement.

Surreality arises through the biomorphic flow: the form stands still, yet in one’s gaze it begins to wander, as if meanings were shifting. With King the figure becomes a symbol of a gravitational core—quiet authority without insignia, binding the surroundings together, while the counterpart Queen marks reach. By comparison, Constantin Brâncuși, Bird in Space appears as the counterpoint: there the form condenses into a clear, upward-directed line that constructively and tensely emphasizes ascent; here, by contrast, the figure lingers in the biomorphic-surreal field, lets the material breathe and follows gravity, so that from the still posture a palpable downward movement arises. This creates a fine balance of stillness and flow that lends the sculpture its particular tension and distinctive tone.